Archives for posts with tag: redneck

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5 stars. Highest recommendation.

Ideological Content Analysis indicates that Out of the Furnace is:













4.5 stars. Ideological Content Analysis indicates that Homefront is:




































barrio tales

Nothing short of an incitation to racial hatred and genocide, the horror anthology Barrio Tales is a useful specimen of the burgeoning Mexploitation genre. The frame story has two foulmouthed but naive American punks venturing south of the border to buy some inexpensive drugs, where they meet a scary, scarred, and crooked-nosed lowlife (Alexander Aguila) who proceeds to tell them a trio of sordid and spicy campfire tales comprising the bulk of the film.

In the first story, newly arrived Mexican domestic servant Maria (Ana Corbi) is humiliated and victimized by a rich American college brat and his spoiled, decadent cronies. The second segment has David Fernandez playing a Hispanic variation on Clint Howard’s character in Ice Cream Man, with mobile taco chef Uncle Tio kicking it up a notch with his secret ingredients. Finally, a gaggle of wetbacks valiantly attempting to smuggle themselves into a better life in the United States are captured and tortured by rednecks until nationalistic Mexican gangsters ride to their aid like the ghetto version of the cavalry.

Imbued with genuine race-baiting venom, Barrio Tales is certain to entertain what would appear to be a target audience of alienated, Raza-minded Hispanics and America-loathing white liberal self-immolators. Fast-paced, passably humorous, and packed with gratuitous grossness, the film may also appeal to a broader horror audience willing to forgive or to take in stride the mean-spirited tone, taking the guano with the good.

3 out of 5 stars. Ideological Content Analysis indicates that Barrio Tales is:

12. Relativistic. “But who’s to say what a monster is? Maybe a monster to me is not a monster to you.”

11. Family-ambivalent. Mexicans come to family members’ aid, while whites, as exemplified by the rich absentee parents in the first story, would appear to be less motivated by family ties.

10. Feminist. A young girl (Elizabeth Small) bests the murderous Uncle Tio despite his telling her, “You can’t beat me. You’re just a stupid-ass little girl.”

9. Christ-ambivalent. Insane hicks pick out “Amazing Grace” on the banjo (and where banjos play there must be inbreeding!) between torture sessions, which would seem to cast their religion in an absurd light; but one of the heroic gangsters (Fabian Lopez) who stops them is, as a counterbalance, named Christian, the implication being that Mexicans are more authentically devout than whites.

8. Pro-miscegenation. Redneck bitch Didi (Jamie Wozny), like all white women, naturally lusts after men with brown skin and delights in tying up, straddling, and torturing a Mexican. “This is kinky,” she giggles when he resists. A black boy (Christopher Meyer) and a white girl (Elizabeth Small) are companions. There is also more than a hint of lust when Uncle Tio seizes and sniffs the latter in anticipation of doing her harm.

7. Drug-ambivalent. Hard drugs are depicted as harmful to the user, but a good way for Mexicans to make money off of stupid white people. Heroic gangsters Christian and P (Isait De La Fuente) are seen drinking from sneaky Petes.

6. Diversity-skeptical. The first and third stories in Barrio Tales are rabidly anti-white, peddling trite victimologies and Chicano moral superiority, while the second, at least at first glance, is something of an odd man out with its tale of a murderous Mexican taco cook. Even this entry, however, presents opportunities to make whites look dumb. Drug dealer Javi (Carlos Ramirez) boasts of duping white kids into paying exorbitant prices for his substandard product. The characterization of pothead Les (Hunter Cope, in the film’s most engaging performance) presents a surprisingly candid parody of the dumb white liberal. Even after it becomes obvious that Uncle Tio is a psychopath and a serial killer, Les clings tightly to his illusions, insisting, “He’s a kindhearted Mexican man who’s been serving this community for many years.” “I’m fuckin’ sick of people prejudging Uncle Tio before they give him a shot,” he says before himself being murdered by this “kindhearted” pillar of the “community”.

5. Anti-American. At the rednecks’ ranch, the American flag flies over a “No Trespassing” sign, representing the country in microcosm as a distrustful, ignorant, selfish, isolated backwater. More than one unlikable Caucasian character wears red, white, and blue (cf. no. 1).

4. Class-conscious. “They never had to work for anything their whole life. Everything is handed to them on a plate.” The raconteur of the wraparound story foretells that his guests will be chopped into tiny pieces and fed to homeless Mexicans. See also nos. 1 and 2, as all of the class conflict in the film is framed as poor, hardworking, innocent Mexicans vs. lazy, wealthy, and evil whites.

3. Alien-delugist. The film presents a sympathetic portrait of wetbacks and characterizes those who would secure the American border as uneducated sadists and bigots.

2. Anti-white. Whites, as depicted, are arrogant, stupid, rude, foulmouthed, murderous, and generally inhuman. Learning that there is a Mexican maid in the house, they are prone to call “dibs” on her, request “el blowjobo”, and say condescending things like, “Smokey el weedo?” “You sound like an idiot,” Jack (Glen Powell) says when he hears Spanish being spoken. Barrio Tales more than once suggests that whites quite literally desire to make Mexicans their slaves. In the first story, spoiled rich twit Trevor (Matt Shively) says of his servant, Maria, “I want to thank my parents for purchasing me this fuckin’ amazingly hot maid that I’m pretty sure I can do whatever I want with.” “I’m gone make you ma slave,” says Didi to her captive in the third story. The most exaggeratedly outrageous portraits of whites, however, are animalistic, growling El Monstruo (Scott Pollard) and his retarded son Reggie, whose one-strap overalls costume mimics archetypal caveman garb. “There’s no punishment that can do to you, you piece of white trash, that would even compare to what you’ve done to my people.”

1. Razist. “Don’t you know brown is the new red, white, and blue, puto?”





Ideological Content Analysis indicates that 2 Guns is:










Part IV of The Filthy Films of Adam Sandler

In Ideological Content Analysis:

A Cranko-Politico-Critical Retrospective

Of the ICA Institute for Advanced Sandler Studies


The number five film at the box office in 1998 and the number two adult-targeted comedy of that year (after the juggernaut There’s Something About Mary), The Waterboy was another major hit for Adam Sandler, here reteamed with Wedding Singer director Frank Coraci.  From the beginning The Waterboy makes its intentions clear, breaking with opening credits tradition in proclaiming itself “A Frank Coraci Movie” rather than the conventional rendering “An [insert director’s name] Film”.  In other words, The Waterboy is self-conscious and unashamed popular entertainment, preemptively thumbing its nose at whatever the critics might say about it.  As such, the movie is more or less a success – an energetic, upbeat, and stupendously stupid sports comedy aimed at the proverbial lowest common denominator.

Sandler, in a turn reminiscent of his “Cajun Man” Weekend Update bit from Saturday Night Live, creates one of the most memorable comic characters of the decade in Bobby Boucher, a 31-year-old rube still toiling as a college football team’s waterboy.  Boucher is socially awkward, lacks confidence, wets his bed, and is still a virgin; but he is not, as might at first appear to be the case, mentally retarded.  Even more shocking, it turns out the loser has real rage inside and potential as a psychotically brutal offensive lineman whenever somebody makes Boucher angry enough.  Down-on-his-luck Coach Klein (Henry Winkler, in a wry performance indicative of his range beyond the Fonz) knows a star player when he sees one; and, against the wishes of Boucher’s fanatically protective Mama (Kathy Bates), gives the beleaguered waterboy the chance to lead the South Central Louisiana University Mud Dogs to glory.  The climactic team win peculiarly lacks the expected comic punch, but enough in the film is endearing and funny for its shortcomings to be forgiven.

3 out of 5 stars.  Ideological Content Analysis indicates that The Waterboy is:

9. Anti-racist (i.e., pro-yawn).  A black player pictures a football as a Klansman’s head so as to motivate himself to kick it especially hard.

8. Feminist.  Distractingly sexy Fairuza Balk plays Boucher’s tough love interest, blade-wielding car thief and potential murderess Vicki Vallencourt, who can handle herself with ease against any would-be oppressor.

7. Mildly anti-South.  The hicks who populate the film are good sorts for the most part, but stereotypically ignorant white trash nonetheless.  One of Boucher’s college professors, a Col. Sanders look-alike, is brutally tackled in a moment of humiliation for an absurd visual representative of the plantation-infested Old South.

6. Drug-ambivalent.  “Don’t smoke crack,” says famous cocaine user Lawrence Taylor to a group of children.  Drinking humor occurs throughout, however, with even the Mud Dogs’ mascot imbibing.  The big game at the end is the Bourbon Bowl.

5. Anti-Christian.  Mrs. Boucher represents conservative Christians as fundamentalist twits obsessed with avoiding an omnipresent evil which lurks in unexpected places.  “Little girls are the devil,” she warns her son; also “Ben Franklin is the devil,” and she even mumbles about the Prince of Darkness in her sleep.

4. Pro-gay.  A sheriff and his deputy answer their door shirtless, the implication being that they have been in each other’s arms.  Misunderstanding Boucher to have said he is bisexual, a party tramp remarks, “I think that’s sexy.”  Coach Klein is seen wearing women’s shoes in a flashback.

3. Statist.  Decent vocabulary notwithstanding, homeschooled Boucher, with his lack of worldliness and social skills is essentially a walking, whimpering endorsement for public schools.  Knowledge-hungry Boucher, when given the chance, is eager to have a university education.  Nevertheless, The Waterboy inadvertently undermines the audience’s confidence in state-run education when the Louisiana high school equivalency examination is shown to include the following inaccurate question: “Ben Franklin discovered electricity.  In what year did this happen?”  (Ben Franklin, despite what unqualified Louisiana teacher union apparatchiks might teach the rustics, did not discover electricity.)

2. Pro-slut.  Tattooed floozy Vicki is all too happy to flash her breasts at the virginal football hero and flirts shamelessly with him in front of his disapproving mother.  (See also no. 4)

1. Family-ambivalent.  Boucher’s love for his mother is consistently touching, but her smothering affection is ultimately an obstacle that must be overcome.  Boucher’s father abandoned his family, and the son, in a triumphant moment of self-assertion, rejects his attempt at reconciliation.


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